622 строки
28 KiB
Plaintext
622 строки
28 KiB
Plaintext
CONTENTS:
|
|
|
|
1) TODO List
|
|
2) OSX Install Notes
|
|
|
|
|
|
SPAT LAB SETUP:
|
|
+ 1. Stereo
|
|
a. TotalMix - select 'diff. stereo' snapshot
|
|
b. mixer: Recall preset 91 ('stereo diff')
|
|
+ 2. Direct - 24 channels - each channel goes in and out on same number.
|
|
a. TotalMix - select 'DTS_24ch'
|
|
b. mixer: Recall preset 96 ('24ch firecac ufx')
|
|
|
|
=============================================================================
|
|
Equipment List:
|
|
|
|
> 1) Two DPA 4011 cardioid mic's.
|
|
> 2) Two boom mic. stands.
|
|
> 3) FMR Audio RNP8380 pre-amp.
|
|
> 4) Presonus Audiobox 181VLS.
|
|
> 5) Mackie 1604 or equivalent mixer.
|
|
> 6) One MIDI cable (15-20 feet)
|
|
> 7) Four 25 foot power extension cables.
|
|
> 8) Two power strips.
|
|
> 9) Eight short (3-4 ft) balanced 1/4" cables.
|
|
> 10) 8 (25 ft) XLR mic cables.
|
|
> 11) 4 balanced 1/4" to male XLR cables (10 ft)
|
|
> 12) 2 balanced 1/4" to female XLR cables (10 ft)
|
|
> 13) One set of the best headphones you can give me.
|
|
> 14) Diskclavier remote control,power supply, and manual.
|
|
|
|
0) Contact Mics
|
|
1) MIDI interface and USB
|
|
2) MIDI cable
|
|
3) MIDI barrel adapter
|
|
4) Speakers
|
|
5) Speaker power cables
|
|
6) Tape for contact mics
|
|
7) Scissors for contact mics
|
|
|
|
=============================================================================
|
|
CHANGES TO SIMULATE MODE TO ALLOW MIDI FILE PLAYER TO DRIVE SCORE
|
|
FOLLOWER DIRECTLY RATHER THAN FEEDING SCORE FOLLOWER FROM MIDI INPUT PORT:
|
|
|
|
CHANGE:
|
|
LINE 1150 cmDspSysInstallCb(h, siRt, "f-out-1", sfp, "smpidx",NULL );
|
|
1154 cmDspSysInstallCb(h, d0Rt, "f-out-1", sfp, "d0", NULL );
|
|
1160 cmDspSysInstallCb(h, d1Rt, "f-out-1", sfp, "d1", NULL );
|
|
1166 cmDspSysInstallCb(h, stRt, "f-out-1", sfp, "status",NULL );
|
|
|
|
BACK TO:
|
|
cmDspSysInstallCb(h, siRt, "f-out-0", sfp, "smpidx",NULL );
|
|
cmDspSysInstallCb(h, d0Rt, "f-out-0", sfp, "d0", NULL );
|
|
cmDspSysInstallCb(h, d1Rt, "f-out-0", sfp, "d1", NULL );
|
|
cmDspSysInstallCb(h, stRt, "f-out-0", sfp, "status",NULL );
|
|
|
|
|
|
=============================================================================
|
|
|
|
Session Notes 11/08/14
|
|
1. 127 dynamic level values are not adequate.
|
|
we loose quiet notes. the new Steinway instr. should have more velocity bits.
|
|
|
|
2. Display the next target score location of cmScModulator() so that it is clear
|
|
that cmScoreModulator() is waiting for a score location in the expected place.
|
|
Adding a button to dump the cmScModulator() score might also be useful.
|
|
|
|
3. JSON parser errors are being sent to the terminal output not the console
|
|
output - so they are not easy to not notice.
|
|
|
|
4. We need transitsions
|
|
We need to be able to audtion presets faster
|
|
We need to insert missing pedal information.
|
|
|
|
Session Notes: 10/18/14
|
|
1) Contact and air mics ogain all set to 1.0
|
|
Sometimes igain on air mics reduced to control feedback.
|
|
Speakers are 10 ft in front of piano
|
|
|
|
AudioBox Gains all at 10 oclock.
|
|
FMR Preamp 2nd notch on air mics
|
|
Mixer 2.5 kHz 10 oclock, 80 Hz 9 oclock.
|
|
Mixer in gains 11 oclock w/ 75 Hz low cut engaged
|
|
|
|
2) Need input Eq for contact mic's. LP,BP,HP with adjustable xover Fc and Gain.
|
|
|
|
3) Preset G works best. With 'offset' used to control radicalization between 20 and 80.
|
|
|
|
4) Add a control cmSpecDist() to interpolate between the input and output
|
|
spectrum. This would allow a smooth transition between transformed
|
|
and untransformed signal.
|
|
|
|
The interpolation can be made to be frequency dependent. This could
|
|
also be used to counter the bass boost which the transform tends
|
|
to produce.
|
|
|
|
5) Add 'offset' as a modulator variable.
|
|
6) Are the dynamic modulator parameter controls working: line, sline
|
|
7) Many of the modulator file labels are redundant - can they be left out?
|
|
(When modulator file values are missing they should default to their last set value).
|
|
|
|
8) When the score follower triggers a change the change seems to come
|
|
before the Disklavier note sounds due to Disklavier system latency.
|
|
Add a delay to the input of scMod to compensate for this delay.
|
|
|
|
9) The scMod data file would be easier to work with if it was in columnar form.
|
|
|
|
Session Notes: 9/28/14
|
|
1) Problems with feedback were mitigated by brining down the input gain.
|
|
In generate the input/output gain were set to:
|
|
In Gain: 0.7 0.2
|
|
Out Gain: 2.0 2.0
|
|
2) Turning the piano away from the microphones also reduced feedback; probably
|
|
due to the fact that the piano lid sheilds the mic's from direct path
|
|
from the speakers.
|
|
3) Increasing the threshold and and use of mode 4 (Bump Mode) produced the
|
|
best transformations. See Preset G in mod_44_45.js
|
|
4) Input signal conditioning needs to be added to keep the piano signal
|
|
in the effective range of the transform.
|
|
5) The Sine Tracking feedback controller is in an uncertain state.
|
|
a. The attenThresh setting range needs to be verified.
|
|
b. The scoring function was changed and then not verified.
|
|
c. The algorithm which compares the trajectory of a given harmonic
|
|
to the trajectory of the overall sound needs to be writen.
|
|
Harmonics that are increasing relative the overall envelope
|
|
should be attenuated.
|
|
6) A noise gate might help the reberberation feedback problem (i.e.
|
|
the dense wash of sound with tends to build with time)
|
|
7) The transform algorithm needs to be developed further to increase
|
|
it's reliability and range of effect.
|
|
8) Changing window length from the score didn't seem to be working.
|
|
|
|
Session Notes: 8/24/14
|
|
0) Investigate using omni mic. in front of speakers to feed input to cmFrqTrk.
|
|
1) Feedback from Mark 178, m144, Preset C.
|
|
|
|
|
|
Session Notes: 5/24/14
|
|
1) Move mic's back from the Disklavier to decrease damper noise.
|
|
2) The head phone signal sounds correct.
|
|
3) The the L410 computer is running out of time in release mode.
|
|
4) Better quality speakers are required.
|
|
5) Build a spectrum analyzer and bank of notch filters or graphic EQ to deal with feedback.
|
|
6) The DPA 4011 mics and FMR Audio RNP8380 preamp work well.
|
|
7) Whenever the speaker signal gets to the point where the transform can be heard
|
|
the feedback begins to occur.
|
|
|
|
Session Notes: 1/14/14
|
|
1) The non-grace evenness notes should include a tempo quality evaluation
|
|
based on using the 'tfrac' values from column S of the score.
|
|
2) Sliver fade outs are currently tied to the reat-time performance not the captured performance.
|
|
In the event that the score follower is lost after beginning a sliver playback
|
|
and therefore misses the programmed fade out times begin fading out the
|
|
sliver after the attack of the last captured note. This means that
|
|
the time location of the captured notes must be accurately indicated
|
|
in the sliver.
|
|
3) Allow fades to be tied to the capture notes - this is easy if 2) is done first.
|
|
|
|
|
|
LANGUAGE NOTES:
|
|
The primary goal of the language is to initialize a dataflow system.
|
|
Sub-goals:
|
|
1) Avoid describing domain specific computation in the language. As much as possible constrain the
|
|
language to describe initialization tasks (e.g. object allocation, object connection, initialization
|
|
parameters, preset grouping, thread/process allocation, UI layout, ...)
|
|
|
|
2) Network Distrubution
|
|
3) UI Layout
|
|
|
|
Runtime:
|
|
+ Extensible data-object system.
|
|
+ Library organization (platform independent UI description, application objects, app-independent objects, vector library)
|
|
- Platform independent UI description is a protocol for describing a UI object and a runtime protocol
|
|
for communitcating with the UI which is independent of the UI implementation itself. The UI should be
|
|
implementable in FLTK, or Javascript. The UI will always run in separate thread and may run in a
|
|
separate process.
|
|
- Application objects are plug-ins which follow a similar design to the cmDspProc() objects.
|
|
+ xs
|
|
|
|
NEW DESIGN NOTES:
|
|
+ The current designs fundamental weakness is that it uses callbacks to communicate where sequential program
|
|
flow would produce a more comprehensible program.
|
|
|
|
+ Dataflow is a natural way to express DSP programs but if it is implemented in a textual, rather than
|
|
graphical language, then their are some design princles that must be followed in order
|
|
to produce comprehensible programs.
|
|
1) Limit the number of connections as much as possible.
|
|
- There are many simple UI->param connections - these should be made automatically and UI
|
|
objects should not have to be explicitely created - they should be created by the runtime
|
|
environment.
|
|
- If multiple pieces of data are part of a single message then they should be sent as a unit
|
|
rather than separately. This decreases the number of connections and also removes timing
|
|
dependencies - where the application programmer has to know the order of transmission of the
|
|
individual pieces. (e.g. MIDI messages always contain {status,d0,d1} rather than having to
|
|
send d0 and d1 followed by status to indicate the end of the message {status,d0,d1} should
|
|
be sent as a single record.
|
|
2) Eliminate as many event ordering issues as possible
|
|
See the example in 1).
|
|
3) Alllow the connections between objects to be made as part of the object allocation.
|
|
4) Allow subprograms to be made. This decreases the complexity of the programs and because
|
|
it allows the programs to be organized hierarchically. It also allows the subprograms to
|
|
be tested idenpendently.
|
|
5) A natural way to express object multiplicity is required. (e.g. multiple channels).
|
|
This leads to a way to naturally create parallel/fan-in/fan-out connections.
|
|
|
|
+ One way to solve some of the problems of the current program would be to add debugging tools.
|
|
- Generate dataflow diagrams that show execution order and the order of connections.
|
|
The actual sending order of the outputs is not accessible to a static network analyzer because it is
|
|
implementation dependent.
|
|
- Generate reports of network activity that show the timed order of events.
|
|
+ The audio system (cmAudioSys) needs to be able to support multiple parallel DSP chains in separate threads.
|
|
+ UI Related Issues:
|
|
- Automatic UI's should be generated by scanning the objects parameters.
|
|
- Custom UI's should be created by explicitily naming object variables along with layout info.
|
|
+ Processors should be able to contain their own processing chains - embeddding processors should be possible.
|
|
This naturally leads to a tree address space. (e.g. fx.filter.param1)
|
|
+ Communication between threads should not necessarily require serialization.
|
|
- Use a blackboard approach where object values are read/written from a blackboard. Objects on the same
|
|
thread use the same physical blackboard. Blackboards on remote processes stream data in the background.
|
|
- This scheme may require double buffering of complex objects to prevent accessing invalid data states.
|
|
+ Objects that send multiple valued messages should use 'record' based data so that only one connection
|
|
is necessary.
|
|
|
|
STRATEGY:
|
|
+ implement highly parallel version - which can take advantage of multiple processors
|
|
to do more - acoustic pitch tracking, source separation based fades
|
|
|
|
TODO:
|
|
+ When a cmMsgList item is selected it should send out the selected index
|
|
after the individual data items rather than before them - this way the index
|
|
can be used as a definitive signal to perform some action on the previously
|
|
transmitted data items.
|
|
+ cmJson and cmLex should report the name of the file when with syntax error messages.
|
|
+ Use CSV for mod score file format (to eliminate need for labels)
|
|
+ Autoload of default pgm cfg, program, enable audio, sequence, score location.
|
|
+ (done) Circuit switcher patch.
|
|
+ Review and document the app threading and locking during audio file loading.
|
|
+ Remove old performance evaluation code from cmScore.
|
|
+ All programs should be able to reload without crashing via enabling/disabling audio.
|
|
+ (in new version) Select and save audio devices.
|
|
+ (done) Mac Conversion
|
|
+ (done) Live MIDI - to test audio/MIDI delay.
|
|
+ (done) As threshold increases overall volume decreases - add a compensation algorithm.
|
|
+ There are unintialized variable warnings on the release build.
|
|
+ Add preset delete.
|
|
+ All uses of va_copy() should have a complimentary va_end()
|
|
+ The list boxes do not show the currently selected item.
|
|
+ (done)MIDI note messages are sent but do not trigger notes on OSX.
|
|
|
|
*** Usage Notes
|
|
live - Disconnects WT cmd input (WT will not receive an 'on' msg)
|
|
Disconnects TL reset input (TL will not receive a 'reset' msg)
|
|
Disconnects MFP sel input (MPF will not receive an 'on' msg)
|
|
Switches audio input to KR from WT to AIN.
|
|
Turn the 'meas' checkbox 'on'.
|
|
|
|
simulate - Turn the 'audio in' checkbox 'on'.
|
|
Switch MFP output from SF to Nano.
|
|
(SF MIDI input then comes from the MIDI port.)
|
|
|
|
audio in - Switch audio input to KR from WT to AIN.
|
|
meas - Instruct the SF to generate measurement outputs for the active meas. unit.
|
|
Otherwise the measurements must be loaded from the recorded measurment list.
|
|
print - Print a report from the SF.
|
|
quiet - Turn off SF output.
|
|
|
|
LA Secs - Fragment recd/play unit look-ahead time in seconds.
|
|
Fade DbpSec - Framgent recd/play unit fade out time
|
|
(time to fade to 0 following a fade msg)
|
|
|
|
*** Cross-fade Notes
|
|
Cross-fades are initiated by sending any msg to the 'AvailCh.trig' input.
|
|
The 'AvailCh' object then toggles the parameter router channels and xfader gates.
|
|
Only after this should the new parameter values be transmitted either from
|
|
the 'ActiveMeas' object (through the scale range chains) or directly from the
|
|
'ScMod' object.
|
|
|
|
Sending parameter values prior to triggering the 'AvailCh' will result in the
|
|
parameters being sent to the currently active 'Kr'. This will result in two
|
|
possibly unintended effects:
|
|
1) The effect of the parameter will be heard immediately - possibly resulting in distortion.
|
|
2) If a subsequent trigger is sent to 'AvailCh' the parameters will be routed to
|
|
the fade-out (current) channel rather than the fade-in (next) channel.
|
|
|
|
|
|
**** Live Test Score
|
|
+ Line 1048 has a red G#5 immediiately following another G#5. Is this correct?
|
|
For now the second G#5 has been marked as a 'skip'.
|
|
+ Changed Tempo sections 25,26,27 to 40,47,47a
|
|
+ Measurements are taken for sections 51-54 but these sections follow bar 136 and
|
|
are therefore outside the test. These sections have therefore been redirected
|
|
to the downbeat of 201-204.
|
|
|
|
*** Testing Notes:
|
|
+ Equipment List:
|
|
Four Microphones: Four performance/ Four recording
|
|
2 inside 2 inside
|
|
2 overhead 2 overhead
|
|
|
|
4 powered speakers
|
|
2 Mixers (1 performance 1 recording)
|
|
|
|
Performance Computer (harpo)/ Audio Interface (delta1010) / MIDI interface (Fastlane)
|
|
Recording Computer (crel) / Audio Interface (delta 1010) / MIDI interface (???)
|
|
Sensor Strip
|
|
|
|
+ Performance Setup
|
|
|
|
+------ +
|
|
Mic0 ----------->| |
|
|
Mic1 ----------->| | sends +-----+ +-------+
|
|
Mic2 ----------->| |------->| A/D | | | +------+ +--------+
|
|
Mic3 ----------->| Mixer |------->| |------>| harpo |<-------| MIDI |<-----| sensor |
|
|
aux | | | | | | +------+ | strip |
|
|
Spkr0 <----------| |<-------| |<------| | +--------+
|
|
Spkr1 <----------| |<-------| | +------ +
|
|
main | | | |
|
|
Spkr2 <----------| |<-------| D/A |
|
|
Spkr3 <----------| |<-------| |
|
|
+-------+ +-----+
|
|
|
|
+ Software Development
|
|
- Create Score File
|
|
|
|
- Create Recording Program (test with long MIDI playback generating audio - look for drift)
|
|
Record the index of each MIDI event at it's location in an audio channel.
|
|
|
|
- Allow all variables and patch connections to be set from the scMod script and have
|
|
multiple scripts with varynig effects setups.
|
|
|
|
- When scanning past ramping variables in scMod the end value should be
|
|
taken as the next variable(???) - this is not necessarily correct
|
|
because one never knows where a timed change may end - maybe ramped
|
|
variables should include a 'skip value' giving the next ambient value
|
|
for the ramped variable - experiment with this to figure out what works.
|
|
|
|
- Add comb filters tuned according to the current MIDI notes as an additional effect.
|
|
- Add EQ output stage (use mixer).
|
|
- Add an input Compressor.
|
|
|
|
- The dry signal should be able to be routed to seperate output channels - around the compressor.
|
|
(Better would be to output a delayed version of the dry signal that was in sync with the transformed
|
|
signal - this might mean simply passing the dry version as separate outputs from KR).
|
|
|
|
- Create a mode in scMod which increments values based on an onset detector. So that
|
|
changes only happen on attacks. This still doesn't help if the pedal is down (or
|
|
if notes are sustained) but otherwise might be a better way to ramp parameters.
|
|
|
|
- (DONE) The ability for the measurements to be called at the correct time must be built in.
|
|
(or alternatively to use stored effects).
|
|
|
|
- (DONE) Effects applied to the playback fragments.
|
|
|
|
- (DONE?) CROSSFADE BUG - This may be fixed by the change to cmDspAvailCh which
|
|
handles the case where no channels are available by sending an error message
|
|
but not actually changing the state of the cross fader.
|
|
|
|
|
|
+ Experiments:
|
|
1) Speaker placement and live/electronics mix.
|
|
2) Sliver mix level
|
|
3) Try varying degree's of effects
|
|
|
|
|
|
|
|
*** 11/19
|
|
+ The recd/play fade should be able to trigger from a capture note as well as
|
|
playback note. An offset might also be useful.
|
|
(Should be a default fade for each fragment - keyed to the input. This
|
|
will be the fade that will occur when
|
|
+ Allow setting fade time in the score.
|
|
+ Allow setting fade rate based on 1.0 to 0.0 from fade point to end point.
|
|
+ Allow for multiple fades markers per fragment. (what does this mean?)
|
|
+ Write code to ignore playback when the score follower is not stable -
|
|
or to throw out fragments where there is a mistake.
|
|
+ At the end of each fragment recording the fragment should be truncated by the look-ahead time
|
|
to avoid capturing the attack of the marked note.
|
|
+ Part 2 data analysis: analyze the order of notes in counter rhythms.
|
|
+ Allow 'evenness' sequences to have non-even relationships.
|
|
|
|
*** 11/1
|
|
+ Change the wavetable to read stereo files or add a second wavetable to play the other channel.
|
|
+ The console window is not always updating from the bottom.
|
|
+ The 'Dump' button results are not going to the console window.
|
|
+ Put dry signal into separate output channels.
|
|
+ Add 'adaptive' mode parameters to scale/range mappings.
|
|
+ The 'meas'->'parameter' mappings should changable from scMod (mod0.js)
|
|
+ The 'adaptive' mode parameters (e.g. offset and invert) need to be connected in the patch.
|
|
+ Create a mode in scMod which increments values based on an onset detector. So that
|
|
changes only happen on attacks. This still doesn't help if the pedal is down (or
|
|
if notes are sustained) but otherwise might be a better way to ramp parameters.
|
|
+ Mark all notes in the score according to how well they would act as places to transition.
|
|
Notes held while the pedal is down would not be good places to transition.
|
|
These indicators would then be used to determine where a section change can occur
|
|
when the actual section change is missed.
|
|
+ (done) All score_loc's and event indexes in meas0.js that beginning with
|
|
score location 743 must be decremented by two. (e.g. loc 743 becomes 741 ...)
|
|
(score_loc_1.txt is now the correct score file)
|
|
+ When scanning past ramping variables in scMod the end value should be
|
|
taken as the next variable(???) - this is not necessarily correct
|
|
because one never knows where a timed change may end - maybe ramped
|
|
variables should include a 'skip value' giving the next ambient value
|
|
for the ramped variable - experiment with this to figure out what works.
|
|
|
|
|
|
|
|
*** 10/17
|
|
Select bar 129.
|
|
Start on F5 before 129.
|
|
Score follower jumps to loc. 978 then backs up to 973.
|
|
|
|
*** 9/27
|
|
* (DONE) Implement live recording for use in part 2.
|
|
* Implement a delay between when a new section is set to trigger and when
|
|
it actually does. This might allow transitions to be set up prior to when they are heard.
|
|
* (DONE) OS-X version crashes when the printf("PROCSET ...) is removed from _cmScProcSets().
|
|
* Add ability to set mappings and perf. measure settings to scMod.
|
|
* The scMod should play through all changes up to the cur starting location so that
|
|
we can mimic the state of playing the piece through but allow starting from any location.
|
|
* Experiment with changing settings using the scMod ramping functions.
|
|
* Make a source separation based fade using an filter/inverse filter based on the
|
|
spectrum prior to the cross-fade. As an extra feature notice the state of the pedal
|
|
and decay appropriately.
|
|
* The electronic score needs the ability to specify that the output is sent to the audible
|
|
cross-fade channel rather than the inactive channel.
|
|
* Add a score mode that performs some action (e.g. incr/decr) on each incoming score follower
|
|
event.
|
|
* In AvailCh what happens when no available channels are found - this may be the cause
|
|
of the cross-fade cut-out problem.
|
|
* Add eq stage to output.
|
|
|
|
* Setting the upper slope to a negative value is effective.
|
|
|
|
* Demo Material: Seq 8 Mark 204 (1024-4 2048-4) Fade 10ms Cost->Threshold.
|
|
- recd7 Mark 151
|
|
- recd8 Mark 145 - same settings a previous take.
|
|
- (recd9) Mark 145 - w/ changing xfade switch to mode 4 at 38
|
|
- recd10 Mark 145 - same w/ no mode change
|
|
- recd11 Mark 145 - a. 3 different takes w/ score constant - no perf. parameters used - fixed threshold=65
|
|
- recd12 Mark 148 b.(same settings as recd9)
|
|
- recd13 Mark 151 c.
|
|
- recd14 Mark 161 Section 40 - fixed changes see mod0.js for note
|
|
- Seq 6 Mark 145 M-92 (38,39,39a) (recd16) (recd17) (recd18) (recd19)
|
|
- Seq 7 Mark 167 M-100
|
|
|
|
*** 8/13
|
|
* Cross-fade was cutting out during demo.
|
|
* Missing takes between seq 7 and seq 8.
|
|
* The MIDI is mis-aligned against the audio.
|
|
* Are cost / tempo working? ... test changing mode.
|
|
* Add an automatic volume adjustment to prevent parameter changes from causing large volume changes.
|
|
* What can we actually do between after a MIDI note is received? Is it already too late to
|
|
send parameters w/o affecting the attack of the note.
|
|
|
|
* Live Test material
|
|
|
|
Part 1: Meas:76 - (one measure) to get measurments for later sections
|
|
Part 1: Meas:94 (sect 38 (Seq 6)) through Meas:136 (include 136 stop at 137).
|
|
|
|
Part 2: ("/Users/kevin/temp/piano score part 2 draft 1 master m 232 - 241 1st 2 bts.sib")
|
|
The downbeat of part two aligns with the 3rd beat (in 4/4) of 122 in the first part.
|
|
Ends on measure 131 at end of beat 3.
|
|
|
|
MISSING MIDI for measures 114:126
|
|
|
|
*** July 10
|
|
** (done) Make separate mappings and scale/range controls for left and right.
|
|
** Add EQ output stage.
|
|
** Work out the speaker setup.
|
|
** Add capture/playback. Analyze notes on capture and do not play if there are
|
|
any wrong notes. (Skipped notes however are acceptable.)
|
|
**
|
|
|
|
** When a section transition is occurs late - (e.g. due to dropped notes) do not apply
|
|
the transformation all at once - instead either ramp it in or step it in on subsequent
|
|
attacks. Section transitions which are positively identified are intended to have
|
|
dramatic changes so applying the updated parameters immediately is acceptable - but
|
|
when the parameters are changed mid-section they should be much applied subtely.
|
|
|
|
|
|
|
|
|
|
** (done) Build a database of measurements and setup the program to be able to
|
|
apply a given measurement at it's assigned section.
|
|
|
|
** Redevelop spectral distortion algorithm to use a spline as the transform.
|
|
|
|
** use Log frequency frequency transform instead of FFT.
|
|
|
|
** Allow for a continous window size via zero padding.
|
|
|
|
** Add a 'write' preset file button - so the preset file can be saved prior to next crash.
|
|
|
|
** measurement values can generate MAX_DBL - be sure that are not being sent through to the audio algorithm.
|
|
(see ln:965 cmDspKr.c for a hack to fix this)
|
|
|
|
** add invert to scale/range to cause output to go in opposite direction.
|
|
|
|
** non-grace eveneess are used to generate a measurement value from previous tempo calibration section.
|
|
(non-grace evenness notes therefore have two scores: 'evenness' and 'overall-duration').
|
|
|
|
** note that the default setting for dyn and even.
|
|
|
|
** add dyn,even,tempo,cost number boxes to allow artificial setting of these parameters.
|
|
add dyn,even,tempo,cost as modulator variables to allow them to be set from the modulator
|
|
With these additions we can simulate apply measurements at the 'application' section.
|
|
|
|
** add begining and ending measure numbers to 'seq' labels
|
|
|
|
** Gain compensation for mode 4.
|
|
|
|
** Do IFFT using cos()^c + i * sin()^c - these bases are orthognal but cause harmonic distortion.
|
|
To be efficient this might involve writing an FFT function.
|
|
|
|
// May 22
|
|
|
|
** Crashers (Should be tested but are probably already fixed following score follower debugging.)
|
|
Seq 2 m24 Mark 36 & 38
|
|
Seq 4: Mark 115
|
|
Seq 4: m76-79 Mark 129 (W/ meas: even & dyn -> thresh change min Thresh to 40) - use 4th seq w/ b1
|
|
Seq 6: m92 Mark 143
|
|
Seq 7: m103 Mark 173
|
|
Seq 7: Mark 172 Meas 103 - always crashes on playback.
|
|
Seq 4: Mark 76 Meas 40 - crash!
|
|
Seq 2: First mark meas 23
|
|
Crash seems to happen in cmProc4.c: _cmScMatchInitMtx() ln:1311.
|
|
It looks like a memory overrun. Looks like the first line is wrong
|
|
shouldn't:
|
|
if( rn >p->mrn && cn > p->mcn )
|
|
be
|
|
if(rn*cn > p->mrn*p->mcn)
|
|
|
|
|
|
|
|
BUGS:
|
|
// Apr 20
|
|
The tempo measurement can produce invalid values. Set score to 22 then play Mark 38.
|
|
First tempo measurement is a non-sense value - probably produced by an div by zero.
|
|
Also: Mark 8, Meas 10.
|
|
|
|
Crash on playing Mark 37.
|
|
|
|
Click on list control outside below list item - crash!
|
|
|
|
Select Mark 171 (Seq 7) Section 43, m103 crash
|
|
|
|
|
|
// Feb 27
|
|
+ Audio seems to preceded MIDI by around 250ms this probably arises
|
|
from a delay that was inserted by 'mas'. Can the delay be removed?
|
|
|
|
// Feb 25
|
|
+ Fix the audio file input/output ports
|
|
|
|
//
|
|
// Feb 6 & 7
|
|
//
|
|
+ Performed notes which arrive which about 50ms could be
|
|
considered chords. Extra notes notes which were not part of
|
|
the chord are probably common and should be discounted during
|
|
the cost analysis.
|
|
|
|
+ (done) Add alignment cost as a 4th variable along with dyn,even,tempo.
|
|
|
|
+ (done) In the score print out (score_loc.txt) Section 2 is starting on Bar 5
|
|
when it should start inside Bar 7.
|
|
|
|
+ In Take 1 the 2nd dynamics set is not triggered.
|
|
|
|
+ In Take 3 Eveness 2 the C2 and F#4 are NOT missing althrough they are in the
|
|
evalation. Also E7 which ends that set is not marked with an 'e'.
|
|
|
|
+ It is possible to have even-non-grace sets where the note rythm value's are not
|
|
all the same (e.g. bar 20 )
|
|
|
|
+ User soft-thresholds for the dynamics categories.
|
|
|
|
+ Set 39 even measure 25 shows the first note as G#2 when it should be C#1
|
|
|
|
+ Missig MIDI note sounded:
|
|
C1 score-loc:132
|
|
A#2 140
|
|
A5 173
|
|
C#2 195 Marker 36
|
|
E5,G33,A#2,C#1 212-218 Marker 36
|
|
E3 185 Marker 37
|
|
F5,C#4,G#5 986 Marker 204
|
|
|
|
-------------------------------------------------------------------------------
|
|
OSX - Install Notes
|
|
-------------------------------------------------------------------------------
|
|
1. Install macports
|
|
2. Install git-core (sudo port install git-core)
|
|
3. sudo port install fftw-3
|
|
4. sudo port install fftw-3--single
|
|
5. port select --list gcc (which gcc is active)
|
|
6. sudo port install gcc47
|
|
7. sudo port --set gcc mp-gcc47
|
|
8. sudo port install fltk
|
|
9. sudo port install xorg-libX11
|
|
10.sudo port install git-core
|
|
11.sudo port install emacs +x11
|
|
10 install ~/Library/Preferences/org.larke.kc.txt (is this required?)
|
|
11 create ~/Library/Preferences/kc
|
|
12 Install ~/Library/Preferences/time_line.js, time_line_preset.js, time_line_preset.csv
|
|
|
|
|
|
-------------------------------------------------------------------------------
|
|
Linux - Install Notes
|
|
-------------------------------------------------------------------------------
|
|
1. autoconf
|
|
2. automake
|
|
3. gcc-c++ (to get g++)
|
|
4. blas-devel x64
|
|
5. atlas-devel x64
|
|
6. lapack-devel x64
|
|
7. download fftw-3: ./configure --prefix=/usr
|
|
8. fftwf-3 : ./configure --prefix=/usr --enable-single
|
|
9. fltk-devel x64
|
|
|